'If I tend to reread the European past in my own Postmodern image, if I frequently write about Bach and Beethoven in the same ways in which I discuss the Artist Formerly Known as Prince and John Zorn, it is not to denigrate the canon but rather to show the power of music all throughout its history as a signifying practice.Minnesota: University of Minnesota Press. Feminine Endings: Music, Gender, and Sexuality, p.

Moreover, within the parameters of his own musical compositions, he may be heard as enacting a critique of narrative obligations that is.devestating.' The Ninth Symphony is probably our most compelling articulation in music of the contradictory impulses that have organized patriarchal culture since the Enlightenment. 'The point of recapitulation in the first movement of Beethoven's Ninth Symphony unleashes one of the most horrifyingly violent episodes in the history of music.The point is not to hold up Beethoven as exceptionally monstrous.Feminine Endings: Music, Gender, and Sexuality. 'Tonality itself - with its process of instilling expectations and subsequently withholding promised fulfillment until climax - is the principal musical means during the period from 1600 to 1900 for arousing and channeling desire.'.'Constructions of Subjectivity in Schubert's Music', Queering the Pitch: The New Gay and Lesbian Musicology (1994), ISBN 0415907527.It is too important a cultural force to be shrouded by mystified notions of Romantic transcendence.' 'Rather than protecting music as a sublimely meaningless activity that has managed to escape social signification, I insist on treating it as a medium that participates in social formation by influencing the ways we perceive our feelings, our bodies, our desires, our very subjectivities - even if it does so surreptitiously, without most of us knowning how.I believe my work sheds light on how music affects us and why it is so influential.' from 'Most people have music in the center of their lives.She is the author of Feminine Endings and Conventional Wisdom. Susan McClary (born 2 October 1946) is a musicologist considered to be a significant figure in the 'New Musicology'.

Mcclary feminine endings